November 9, 1967
If the release of the Beatles' Merseyside was an indirect catalyst for Brian Wilson's untimely death and the Rolling Stones' temporary split, then the split of the Rolling Stones was a somewhat more direct catalyst for the Who attempting to become the new bad boys of rock and roll.
The Monkees were formed by Bob Rafelson and Bert Schneider for a television series which aired in 1966. The fictional band consisted of American actors Peter Tork, Micky Dolenz, and Michael Nesmith, as well as British actor David Thomas "Davy" Jones; they were Rafelson's and Schneider's attempt at an American Beatles with hit songs such as "Last Train to Clarksville" and "I'm a Believer".
Nesmith and Tork both had musical backgrounds whilst Dolenz and Jones' musical skills were limited, but the latter point did not stop the group from rebelling and taking creative control of their music. This rebellion would lead to the classic Headquarters and Pisces, Aquarius, Capricorn & Jones Ltd.[1], both produced by Chip Douglas, known for his work with the Modern Folk Quartet and the Turtles, the latter of which would become known for "Happy Together".
Pisces, Aquarius, Capricorn & Jones Ltd. had just been released and would go on to top the charts in the United States. On this particular morning, the Monkees were having breakfast together at a diner in Hollywood. Davy was the only one with a newspaper in hand.
"What's that you're reading, Dave?" Micky asked before taking a swig of orange juice.
"I'm reading this article about the Who," Davy explained. He turned the paper over so the others could read.
"'The Who Go All Out with Lily in Becoming Rock and Roll's New Bad Boy Group'," Michael read. "'Other Groups Try to Follow Their Footsteps.' What's so important about it?"
"Since the Rolling Stones had their blowout," said Davy, "it looks like every band and their grandmother is fighting in the press to try and see who will reign supreme. So what if..." He paused for effect. "We tried to beat the Who?"
"By becoming heavy players?" asked Peter, suppressing a laugh. "Forget it; that's not our style. And besides, we'd be squashed before we even got through round one."
"No, I don't mean play harder," said Davy. "I mean, what if we tried topping them... by putting out something even bigger than Headquarters and Pisces?"
MICHAEL NESMITH: "I thought the idea was sort of out there; The Monkees putting out a double album? That seemed ridiculous and could potentially hurt sales. But then again, Bob Dylan had put out Blonde on Blonde the year previous, so maybe not as ridiculous as it sounded." (1986)
PETER TORK: "Micky and Mike were up for it, but I was still sore when it came to [Chip] Douglas playing the keyboards more often than I did. It didn't help that I had minimal input on Pisces [Aquarius, Capricorn & Jones Ltd.]. I eventually agreed, but if Chip was going to be our producer, I made them agree to the condition that I had more involvement." (2007)
November 11, 1967 - April 22, 1968
The Monkees were back at RCA Victor Studios in Hollywood, California, with Chip Douglas once again back in the producer's seat. The first song cut for the next album - The Birds, The Bees & The Monkees - was Nesmith's "Tapioca Tundra". When the band told Douglas about their ambition to put out a double album, the producer thought they were mad.
CHIP DOUGLAS: "I appreciated the group's ambition, and suggested that they put out a single album instead, but they were persistent. It even got to the point that they recorded over thirty songs!" (1971)
The final track listing would consist of six songs each from Michael and Peter, seven from Micky and nine from Davy. Each Monkee presented his own style throughout; Davy Jones' Broadway rock, Michael Nesmith's country and western mixed with psychedelic experiments, Micky's rock and soul and Peter's minimalist approach.
MICKY DOLENZ: "It's a crazy album for sure, but I still love it for what it is." (2018)
The Monkees - The Birds, The Bees & The Monkees
Although it was being viewed as an attempt to beat the Who at their game, The Birds, The Bees & The Monkees still kept to the American band's initial roots whilst simultaneously being experimental and groundbreaking. Despite the album only reaching #3 in the United States and not charting at all in the United Kingdom, it was still popular with fans, although many have debated whether it should've been a single album or it was fine as it is; even the band members themselves.
DAVY JONES: "It was a great double album, it sold best as it could; it's The Birds, The Bees & The Monkees. Lighten up." (1996)[3]
Still, with hindsight, the Monkees shouldn't have worried about defeating the Who at their own game, because someone else was already taking care of that for them...
17 March - 24 May 1968
For the first time in eight months, the Rolling Stones were back in the recording studio. Their mission; to show the world who the real bad boys of rock and roll were.
A new producer had been called in following Andrew Oldham's departure. Mick Jagger's first (and seemingly only) suggestion was Jimmy Miller, whose previous work included Mr. Fantasy, Traffic's debut album, and Spooky Tooth's soon-to-be-released It's All About. The band was initially reluctant, given the two albums' psychedelic nature, not to mention the poor chart performance of Mr. Fantasy, but to Jagger, it was Miller or nothing, so the band acquiesced.
The sessions for the new album were far smoother compared to Their Satanic Majesties Request, even reworking the best songs from said sessions such as "2000 Man" and "The Lantern". Instead of attempting psychedelic again, the Rolling Stones would instead return to their blues oriented roots, along with a much heavier sound. The title of their new album would even reflect on their situation - Lazarus of England. (An initial working title was Who Killed Christopher Robin?.)
MICK JAGGER: "We sort of 'died' when trying to record what was meant to be Satanic Majesties. That title brought up bad memories. Why the hell did we even think of trying psychedelic, for God's sake? The Stones are all about rock and roll, sex and drugs, not synthesizers, free love, and grass... Okay, maybe a little grass on the side. *laughs*"
The comeback single for the Rolling Stones was "Jumpin' Jack Flash", with the politically oriented "Street Fighting Man" as its B-side. Although the former was a #1 hit in the United Kingdom, the latter also became a cult classic with fans. Throughout the sessions, Brian Jones had minimal input, especially after his fight with Keith Richards.
6 September 1968
If the release of the Beatles' Merseyside was an indirect catalyst for Brian Wilson's untimely death and the Rolling Stones' temporary split, then the split of the Rolling Stones was a somewhat more direct catalyst for the Who attempting to become the new bad boys of rock and roll.
 |
| The Monkees, 1967. |
Nesmith and Tork both had musical backgrounds whilst Dolenz and Jones' musical skills were limited, but the latter point did not stop the group from rebelling and taking creative control of their music. This rebellion would lead to the classic Headquarters and Pisces, Aquarius, Capricorn & Jones Ltd.[1], both produced by Chip Douglas, known for his work with the Modern Folk Quartet and the Turtles, the latter of which would become known for "Happy Together".
 |
The cover for the Monkees' Pisces, Aquarius, Capricorn & Jones Ltd. album, released November 1967.
|
"What's that you're reading, Dave?" Micky asked before taking a swig of orange juice.
"I'm reading this article about the Who," Davy explained. He turned the paper over so the others could read.
"'The Who Go All Out with Lily in Becoming Rock and Roll's New Bad Boy Group'," Michael read. "'Other Groups Try to Follow Their Footsteps.' What's so important about it?"
"Since the Rolling Stones had their blowout," said Davy, "it looks like every band and their grandmother is fighting in the press to try and see who will reign supreme. So what if..." He paused for effect. "We tried to beat the Who?"
"By becoming heavy players?" asked Peter, suppressing a laugh. "Forget it; that's not our style. And besides, we'd be squashed before we even got through round one."
"No, I don't mean play harder," said Davy. "I mean, what if we tried topping them... by putting out something even bigger than Headquarters and Pisces?"
MICHAEL NESMITH: "I thought the idea was sort of out there; The Monkees putting out a double album? That seemed ridiculous and could potentially hurt sales. But then again, Bob Dylan had put out Blonde on Blonde the year previous, so maybe not as ridiculous as it sounded." (1986)
PETER TORK: "Micky and Mike were up for it, but I was still sore when it came to [Chip] Douglas playing the keyboards more often than I did. It didn't help that I had minimal input on Pisces [Aquarius, Capricorn & Jones Ltd.]. I eventually agreed, but if Chip was going to be our producer, I made them agree to the condition that I had more involvement." (2007)
November 11, 1967 - April 22, 1968
 |
| Monkees producer Chip Douglas, 1967. |
CHIP DOUGLAS: "I appreciated the group's ambition, and suggested that they put out a single album instead, but they were persistent. It even got to the point that they recorded over thirty songs!" (1971)
The final track listing would consist of six songs each from Michael and Peter, seven from Micky and nine from Davy. Each Monkee presented his own style throughout; Davy Jones' Broadway rock, Michael Nesmith's country and western mixed with psychedelic experiments, Micky's rock and soul and Peter's minimalist approach.
MICKY DOLENZ: "It's a crazy album for sure, but I still love it for what it is." (2018)
Released: April 22, 1968
Recorded: June 14, November 11, 1967 - April 5, 1968
Producer: The Monkees, Chip Douglas
Track listing[2]
Side A
Through the Looking Glass
We Were Made for Each Other
Tapioca Tundra
Alvin
I'll Be Back Up on My Feet
Valleri
Writing Wrongs
Side B
Dream World
P.O. Box 9847
Magnolia Simms
The Poster
Long Title: Do I Have to Do This All Over Again
Daydream Believer
Zor and Zam
Side C
Tear the Top Right Off My Head
Auntie's Municipal Court
Carlisle Wheeling
Party
Lady's Baby
Nine Times Blue
Changes
Side D
If I Ever Get to Saginaw Again
Rosemarie
My Share of the Sidewalk
Come on In
Shake 'Em Up (and Let 'Em Roll)
War Games
Merry Go Round
Although it was being viewed as an attempt to beat the Who at their game, The Birds, The Bees & The Monkees still kept to the American band's initial roots whilst simultaneously being experimental and groundbreaking. Despite the album only reaching #3 in the United States and not charting at all in the United Kingdom, it was still popular with fans, although many have debated whether it should've been a single album or it was fine as it is; even the band members themselves.
DAVY JONES: "It was a great double album, it sold best as it could; it's The Birds, The Bees & The Monkees. Lighten up." (1996)[3]
Still, with hindsight, the Monkees shouldn't have worried about defeating the Who at their own game, because someone else was already taking care of that for them...
17 March - 24 May 1968
For the first time in eight months, the Rolling Stones were back in the recording studio. Their mission; to show the world who the real bad boys of rock and roll were.
 |
| Jimmy Miller with Mick Jagger and Keith Richards, 1968. |
The sessions for the new album were far smoother compared to Their Satanic Majesties Request, even reworking the best songs from said sessions such as "2000 Man" and "The Lantern". Instead of attempting psychedelic again, the Rolling Stones would instead return to their blues oriented roots, along with a much heavier sound. The title of their new album would even reflect on their situation - Lazarus of England. (An initial working title was Who Killed Christopher Robin?.)
MICK JAGGER: "We sort of 'died' when trying to record what was meant to be Satanic Majesties. That title brought up bad memories. Why the hell did we even think of trying psychedelic, for God's sake? The Stones are all about rock and roll, sex and drugs, not synthesizers, free love, and grass... Okay, maybe a little grass on the side. *laughs*"
KEITH RICHARDS: "Yeah, one way or another, the Rolling Stones are now back from the dead." (1968)
The comeback single for the Rolling Stones was "Jumpin' Jack Flash", with the politically oriented "Street Fighting Man" as its B-side. Although the former was a #1 hit in the United Kingdom, the latter also became a cult classic with fans. Throughout the sessions, Brian Jones had minimal input, especially after his fight with Keith Richards.
6 September 1968
Released: 6 September 1968
Recorded: 17 March - 25 July 1968
Producer: Jimmy Miller
Track listing[4]
Side A
Sympathy for the Devil
Citadel
No Expectations
2000 Man
Jigsaw Puzzle
Citadel
No Expectations
2000 Man
Jigsaw Puzzle
Side B
Jumpin' Jack Flash
Parachute Woman
The Lantern
Stray Cat Blues
Factory Girl
2000 Light Years from Home
Parachute Woman
The Lantern
Stray Cat Blues
Factory Girl
2000 Light Years from Home
Lazarus of England was hailed as a return to form for the Rolling Stones. It was their third album (following Could You Walk on the Water? and Aftermath) to be released with the same track listing in both the United States and the United Kingdom, as well as the last to feature Brian Jones as a prominent member. He would quietly depart from the band at the end of the year, before dying on 3 July 1969 by drowning in his swimming pool under the influence of drugs and alcohol. To this day, it remains a mystery exactly why he died and whether or not he was murdered.
20 September 1968
20 September 1968
Released: 20 September 1968
Recorded: October 1967 - 1968
Producer: Kit Lambert
Track listing[5]
Side A
Glow Girl
Faith in Something Bigger
Dr. Jekyll and Mr. Hyde
Odorono
Tattoo
Little Billy
Melancholia
Side B
Magic Bus
Dogs
Jaguar
Silas Stingy
Sunrise
Call Me Lightning
The Who had begun 1968 by touring Australia and New Zealand with fellow English group Small Faces. Both bands would wind up in trouble with local authorities and they were labeled as "unwashed, foul-smelling, booze-swilling no-hopers" by the New Zealand Truth. Yet despite this, the tour still continued into America and Canada.
For all the time they'd spent touring, the Who still found the time to record new material. Tracks such as "Silas Stingy", "Tattoo", and "Jaguar" were recorded following the release of Who's Lily?, and newer songs would include "Glow Girl", "Dr. Jekyll and Mr. Hyde", and Top 40 hit "Magic Bus". The resulting album from the late-1967 sessions up to the summer of 1968 was called Magic Bus. It hit the Top 10 on both sides of the Atlantic, although the title track barely hit #25 in America.
KEITH MOON: "It was more laid back compared to Lily, and some people accused us for sort of 'pulling out', if you will. It didn't help that the Stones had come back with Lazarus. Things got awkward from there..." (1972)
ROGER DALTREY: "Then we'd heard from the grapevine that the Monkees were trying to beat us simply by being themselves with their double album [The Birds, The Bees & The Monkees]." (1989)
PETE TOWNSHEND: "At that point, we'd decided that if it was going to some kind of battle of the bands, then so be it. It had very much become 'Stones vs. Who vs. Monkees' vs. whoever dared to pull out their dicks. *laughs* In retrospect, we should've thrown in the towel a lot sooner." (2001)
MICKY DOLENZ: "If Pete Townshend and his bandmates wanted to declare war, they got it." (1986)
CHARLIE WATTS: "It became some sort of massive game of 'anything you can do'. We weren't going to be the only bands trying to best the other; others like the Byrds and Small Faces each wanted a slice of the action, as it were." (2005)
With the release of Lazarus of England and Magic Bus within the same month, it quickly became clear that the end of the 1960s was going to be a time to remember. The battle of the bands had begun!
For all the time they'd spent touring, the Who still found the time to record new material. Tracks such as "Silas Stingy", "Tattoo", and "Jaguar" were recorded following the release of Who's Lily?, and newer songs would include "Glow Girl", "Dr. Jekyll and Mr. Hyde", and Top 40 hit "Magic Bus". The resulting album from the late-1967 sessions up to the summer of 1968 was called Magic Bus. It hit the Top 10 on both sides of the Atlantic, although the title track barely hit #25 in America.
KEITH MOON: "It was more laid back compared to Lily, and some people accused us for sort of 'pulling out', if you will. It didn't help that the Stones had come back with Lazarus. Things got awkward from there..." (1972)
ROGER DALTREY: "Then we'd heard from the grapevine that the Monkees were trying to beat us simply by being themselves with their double album [The Birds, The Bees & The Monkees]." (1989)
PETE TOWNSHEND: "At that point, we'd decided that if it was going to some kind of battle of the bands, then so be it. It had very much become 'Stones vs. Who vs. Monkees' vs. whoever dared to pull out their dicks. *laughs* In retrospect, we should've thrown in the towel a lot sooner." (2001)
MICKY DOLENZ: "If Pete Townshend and his bandmates wanted to declare war, they got it." (1986)
CHARLIE WATTS: "It became some sort of massive game of 'anything you can do'. We weren't going to be the only bands trying to best the other; others like the Byrds and Small Faces each wanted a slice of the action, as it were." (2005)
With the release of Lazarus of England and Magic Bus within the same month, it quickly became clear that the end of the 1960s was going to be a time to remember. The battle of the bands had begun!
Footnotes
- I like to imagine that, because of butterflies, both Headquarters and Pisces, Aquarius, Capricorn & Jones Ltd. are released with their respective aborted track listings, as listed on Wikipedia.
- All tracks from sides A and B (plus "Auntie's Municipal Court") are sourced from the 2010 deluxe reissue of The Birds, The Bees & The Monkees, using the aborted track listing as a basis with some tracks rearranged. All tracks from sides C and D (excluding "Auntie's Municipal Court") are taken from the Missing Links trilogy, focusing on the recordings from November 1967 to April 1968.
- Paul McCartney said something similar about the Beatles' White Album on the Anthology documentary.
- All tracks are taken either from Beggars Banquet or Their Satanic Majesties Request, excluding "Jumpin' Jack Flash", taken from GRRR!.
- "Odorono", "Tattoo", "Jaguar", "Silas Stingy", and "Sunrise" all come from the 1995 reissue of The Who Sell Out; again, the jingles are removed. The remaining tracks come from either Odds & Sods or Thirty Years of Maximum R&B; "Dr. Jekyll and Mr. Hyde" is the unique remix taken from soniclovenoize's Who's for Tennis.
Author's Comments
Originally, I didn't have any plans for the Monkees in this story, but after hearing about Peter Tork's recent death from cancer, I thought, "how could I do a tribute to him in my own way?" The result was a double album version of The Birds, The Bees & The Monkees. I know it may seem excessive, but if Bob Dylan could put out a double album in 1966, and the Beatles put one out as well in late 1968, why not have the Monkees put out a double album during this time? Of course, in the 1960s, a double album was pretty much the exception, not the rule, but they were a bit more common in the 1970s, a time of excess and ego.
Next time, we get back to the Beatles, and we'll find out not only how different the India trip turns out, but also how they're taking these sudden developments around them.
Next time, we get back to the Beatles, and we'll find out not only how different the India trip turns out, but also how they're taking these sudden developments around them.
Mickey and Keith still manage to kindle a friendship right?
ReplyDeleteYeah, there will be rough patches, but they're still friends and partners in songwriting.
DeleteTalking about Mickey Dolenz and Keith Moon! Though that'll be until the 70s!
DeleteOh, I'm sorry. Since the chapter had two Micks (three if you include Nesmith) and two Keiths, I got confused there.
DeleteBut yeah, they'll manage to kindle a friendship; this so-called battle of the bands was purely a gimmick for the music press, in retrospect.
Yet another great update! It seems you can do no wrong. I know you will eventually tackle this, but... I've been listening to the London Hyde Park Blind Faith concert a lot recently and looking forward to seeing what you do with Cream. There will probably have to be a lot of butterflies for them to stay together knowing what happened in OTL.
ReplyDeleteCream will last a bit longer than they did in OTL, with the occasional lineup shift and all. If we go by Eric Clapton's early 1970s discography as well as the material that was unreleased then, it probably won't last beyond 1972.
Delete